薛西弗斯的變體：論《嫁粧一牛車》電影劇本中萬發存在精神之研究

The Variant of Sisyphus: A Research on Wan-fa's Spirit of Existentialism in the Film Script Adapted from 'The Ox-Cart Filled with Dowry's

《嫁粧一牛車》電影劇本為王禎和於一九八三年，趁著八○年代台灣新電影浪潮，親筆改編之作。從小說到劇本，男主角萬發的形象，由令人悲憫的升斗小民轉變為飽受嘲謔的荒謬之人。本論文旨在以卡繆《薛西弗斯的神話》中三種以薛西弗斯為原型推衍出的「荒謬人」形象──演員、唐璜、征服者，來探討《嫁粧一牛車》電影劇本中，萬發之抵抗與妥協的三個面向：第一，藉分析萬發啞劇演員式的裝聾作啞，探討其如何從物理性的「聾」，到社會性的無聲以對，及至主體選擇性失聰，妥協於妻子偷情的現實。第二，從唐璜式的縱樂主義，探討為滿足自身食慾與物慾的萬發，如何因物妥協，為求溫飽與人共妻。第三，以薛西弗斯推動石頭，征服懲罰之作為，對照萬發推著牛車抵抗貧窮之行動。並試論萬發如何在看似抵抗的行為中，逐步妥協。望透過聚焦在萬發之劇本分析，把電影《嫁粧一牛車》的發言權，交還給萬發。

When in the 1980s a new wave of Taiwan New Cinema emerged, Zhen-He, Wang, the author of “The Ox-Cart Filled with Dowry”, adapted his novel into a film script. When the novel was turned into a screenplay, Wan-Fa, the main character of the novel, transformed from a plebeian into a ridiculous and absurd character. This thesis aims to analyze “The Myth of Sisyphus” written by Camus and the novel “The Ox-Cart Filled with Dowry” by comparing the three absurd archetypes found in Camus's philosophical essay. The three archetypes （the actor, Don Juan and the conqueror）are analyzed in order to explore how the main character, Wan-Fa, from the film script “The Ox-Cart Filled with Dowry”was trying to withstand difficult circumstances and finally failed in all three perspectives. The three perspectives are in detail discussed in my work.